Recording Tamiḷ-Hymns

So, when the Tamiḷ Parayanas started I silently and without imposing my will on others, remained in it for several years before withdrawing due to other activities which had, mercifully for me, become part of my life.

Your letter [from Dennis] to me through Graham, and your e-mail here to him listing the JJ/LR recordings and the following paragraph, ought also to have been addressed to the President. This would have forcefully placed the whole story in proper perspective, coming from you. So, I had them shown to the President, since I didn’t see how I could play any useful role without the force of his sanction and trust.

In preparation for the recordings, the new parayana practice group consists of eight women and eight men. The primary criterion for selection being familiarity with the words, regularity of attendance at the daily shrine parayanas and musical ability. Considering the ‘free for all’ that Bhagavan always allowed (in the light of the Day by Day referenced above, shall I say ‘suffered’) this is perhaps as it should be.

Graham must finish recordings by mid March, whereas the chosen group, if they wished to perfect their renditions, would take 2-3 months for the venbas, and longer for “Navamani Malai,” “Padhikam”, the “Poppadam,” and Sankara tidbits, the latter requiring a more developed sense of timing.

Graham, of course, confesses he is satisfied as long as the group ‘come in’ for their lines together and are in tune. So after the first week of (4 p.m. — 5 p.m.) practice I decided on a level of correction merely to ensure that the group came in together at the start of each line and in tune.

Then, Graham commented that the four days of Venba Parayanas (Tue-Fri) were too monotonous, Suggestions were made for changing the tune and slowing the pace of the “40 Verses on Reality.” Since I saw that a change was being asked for, I took the position that it shall be a complete change to the way it was intended to be recited. So “40 Verses” and “Supplement” are now going to be heard in meter but without change of tune, since the President felt that the original should be kept. I need hardly add that LR and myself, and all of you there, like the grand dignity of its tune (which, incidentally, LR pointed out is the tune for Durga’s famous 'Ayigiri Nandini'...). I had told Graham how ‘chanted in meter, these poems would be hypnotic I have no doubt that the group will experience it when they get fully into the “40 Verses” and “Supplement.” Today I showed it to them in its final form (dropping metrical gaps in between lines) and they are taking to it like ducks to water.

Sanskrit Recordings of Bhagavan’s Works, etc.

Now to Lingeswara Rao and myself. We practice mornings and record, when possible, 10 p.m. — 12 p.m. Bhagavan led us steadily from the Samadhi Hall, to the New Hall and finally to the Old Hall where the acoustics are perfect. We have completed all Sanskrit requests except “Lalitasahasranam.” We've added to your list all Sanskrit verses (26 I think) in “40 Verses Supplement,” and Arunachala Mahatmyam as chosen by Bhagavan. We did his 42 from Bhagavad Gita also. Your list does not include Ramana Gita. If you wish, and in case there is time towards the end, we would do this. You have also not included Bhagavan’s Malayalam 40 Verses, “Supplement,” “Upadesa Saram” and Bhagavad Gita. We have taken care to do all Sanskrit in those ragas received through Swami Avadhutendra, Hari Ram Master and some others. Here and there finer nuances are incorporated for research and discovery by future generations! The tala cymbals are used throughout. President Ramanan (and Sri K.Natesan) upon hearing “Catvarimsat” (“Forty Verses in Praise of Sri Ramana,” by Ganapati Muni) said they were in bliss. I would recommend adding the tanpura drone to all these Sanskrit recordings. I am not aware of poems in Anushtup (Gita) meter and other meters being sung with tala. They sound very captivating.

I have already suggested to the President and to Graham (he is not pleased as he would have to return lugging all that recording equipment again), that he ought to plan a second trip (say 1999) for a more polished and authentic group parayana recording.

Also, I would like to suggest the proposition of making a CD with a mix of performances, e.g., some from LR and my Sanskrit recording, some of Ravi and Sridhar, some of the group parayana, some from my Tamiḷ Parayana. There is a rendering of the Akshara Mana Malai in 9 ragas (12 Verses per page) designed by Ramani Ammal and recorded by the President, with Smt.Susheela and myself, which is quite popular. Also, some of Manavasi's songs which the ladies-group sings very well. A mix of these could make a great product. Give it some thought.

It has been a great joy for LR and myself, despite a crippling schedule and pushing my vocal chords for 6-8 hours every day, doing the Sanskrit recordings, alongside other parayana practices and duties. I am sure the remaining two projects (group Parayana, and the solos) would also come out fine in the ever-present Grace. I can’t help recalling Arunachala Bhakta Bhagawat’s prayer when I was there in 92, that Bhagavan’s gift to me should be shared with all. Maybe its happening.

Lastly, Graham Boyd writes:
My friends Jack and Vera Mutten bought the new JVC digital video camera and have been taking film of the mountain, Ashram, etc. It is a brilliant camera with pristine colors and ultra-sharp images. We are going to make a video of the Ashram and the local shrines, etc., plus a video pradakshina of Arunachala. To accompany the latter we are recording a one-hour version of “Akshara Mana Malai.” This one-hour version will be the sound track of the VHS tape version of the pradakshina. There will also be a 30-minute video-CD with the shorter version of the song (30 minutes of film and 30 minutes of song can fit on a CD).

This year might bear some very useful fruit for overseas devotees as everything seems to have its own momentum.